“Under the capricious and destructive influence of time the theatrical place, which used to be the matrix connecting the fiction of drama with the reality, proved too awkward, passive and too. . . literal in its material existence. Human foolishness and the impenetrable rules of art have maliciously changed the reality of the place into . . . fiction. Illusion, as the reflection of “that” world and “that” theatre, as the origin of all metaphor, all transformation and poetry, demanded a more subtle and more detached medium. The medium was naturally still a notion which stood in opposition to ILLUSION and FICTION. It was still partial to reality. This reality, however, was no longer expressed by PLACE, which imposed its laws on all the elements of the theatre. It was the OBJECT that now became the medium. The OBJECT. Autonomous, concentrated on itself. L’object d’art. It had one characteristic feature: its own, living organs: the ACTORS.
That is why I called it “BIO – OBJECT.”
Bio-objects were not props used by the actors. The were not part of “the scenery” where “acting” takes place. They became inseparable from the actors. They radiated their own “life” – autonomous, unrelated to the fiction (content) of the play. This kind of “life” and its symptoms constituted a significant part of the performance. The demonstration or manifestation of the bio-object’s life did not involve presenting any external structure.
It was autonomous and therefore real! The bio-object – a work of art.”
Kantor, Tadeusz. Wielopole, Wielopole. Kraków-Wrocław: Wydawnictwo Literackie, 1990, p. 132.